Penny Marshall (1943-2018)

by Nathaniel R

We were terribly sad last night to receive word that America's most successful female sitcom-star-turned-director had passed away at the age of 75 of complications from diabetes. We'd long hoped that showbiz legend Penny Marshall, who became a household name in the 1970s as one of half of Laverne & Shirley before getting behind the camera in the 1980s (to immediate success), had another movie or two in her. That was wishful thinking, we realize, since she hadn't directed a feature since 2001. Still, we'll always have her two indisputable comedy classics Big (1988) and A League of Their Own (1992) to remember her by...

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Oscar's Foreign Race Pt 3 - Female Directors

With the 87 wide official list of foreign Oscar submissions released to consider, we thought we'd dig a little deeper this week into various aspects of the race. We've already shared all the trailers so let's break down how the directors shake out with the rich and promising topic of women behind the camera.

FEMALE DIRECTORS
Contrary to popular internet belief, very generally speaking of course, female directors overseas are not as rare or as systemically unsupported as they have historically been in the US. There are usually at least a handful of female-helmed films in the long official submission list. This year we have the second most we've ever had in the run up to the nominations. Of the 87 movies in contention, 20 were directed or co-directed by women. 

Rungano Nyoni was born in Zambia but emigrated to the UK when she was a little girl. Her debut feature is the widely acclaimed I Am Not a Witch (2018) which won the BAFTA last season for Outstanding Debut and is now playing in selected cities in the US.  She was previously nominated at the BAFTAs for a short film Mwansa the Great (2011). She is the second female filmmaker chosen by the UK for the Oscars, the first being Havana Marking for Afghan Star (2009) but that number isn't as dire as it sounds. The UK has only submitted 16 films in the history of the Oscars since most of the films produced there are in English...

Nadine Labaki is Lebanon's most internationally prominent director breaking through 11 years ago with the hit Caramel (2007). Her latest festival sensation Capernaum (2018) won a special Jury prize at Cannes and is opening in several international markets over the next few months including the US on December 14th.

18 more women after the jump...

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TIFF: Nicole Kidman and "Destroyer"

by Nathaniel R

One of the screenwriters of the sun-blasted crime thriller Destroyer, describes the movie as "a detective investigating herself." Allowing a screenwriter rather than the reviewer to pigeonhole their movie may be an abdication of duty, but an appropriate one; Destroyer has long gone rogue, flashing its badge but totally off the clock. Even the LAPD, which we all know has behavioral trouble of its own, wouldn't approve of Detective Erin Bell's (Nicole Kidman) "police work" in the real world.

You can't imagine that she'd still be allowed that badge given her AWOL behavior and frequent intoxication but realism isn't what Destroyer is after. Director Karyn Kusama, introducing the movie at TIFF told us to "enjoy" it, providing her own finger quotes around the word, betraying a welcome sense of humor which is unfortunately little seen within the film. But again, levity is not what this relentless film is after...

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We have our first 10 contenders for Best Foreign Film

by Nathaniel R

Our first 10 official contenders for Best Foreign Language Film for the Oscars have been revealed. Any of the links will take you to the foreign submission charts where you can read more. They are:

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Fantasia 2018: Blue My Mind

by Jason Adams

There's a whole lot going on in Mia's life. She's moved to a new town, which means a new school and trying to make new friends. She's just had her first period, and that's got her on edge. Oh and her toes have suddenly grown webbed together, and she's got these strange appetites making themselves known. 

Blue My Mind is just the latest in a long line of girls coming of age through sloppy and terrifying means - the lure of exploring budding female sexuality through the prism of the monstrous has always been with us, from Medusa's slithering wig to Simone Simon's poolside purr. What feels different now, with movies like this (written and directed by Lisa Brühlmann) or with Julia Ducournau's Raw last year, is that it's finally women who are making these movies...

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